Culture 6: Inclusive Literature - Characters with Disabilities

BIBLIOGRAPHIC DATA:

Lord, Cynthia. 2006. RULES. New York: Scholastic. ISBN 9780439443821

PLOT SUMMARY:

Catherine is a young girl struggling to deal with her younger brother’s autism. Catherine loves David, but finds herself frustrated by his behaviors and his near constant need for their parents’ attention. Catherine worries constantly about David’s behaviors and even creates a book of rules for David to follow to help him behave more “normally.” Catherine’s perspective changes a bit when she befriends a boy she meets at David’s occupational therapy clinic. Jason, who is confined to a wheelchair and cannot speak, shows Catherine a different side of herself. As Catherine’s kindness to Jason grows and their friendship blossoms, she begins to realize that differences are not such a bad thing. Catherine realizes what is most important in life and begins to accept herself, her family, and her friends for who they are.

CRITICAL ANALYSIS:

In RULES, David’s autism is depicted realistically and accurately. Lord uses Catherine’s rules for David as a means for giving examples of some of David’s unusual behaviors, such as “No toys in the fish tank” and “If someone says ‘hi,’ you say ‘hi’ back.” Readers will quickly understand David’s differences while at the same time begin to view David as a unique individual.

David’s fascination with Lobel’s FROG AND TOAD books is a significant cultural marker for his disability. David has difficulty expressing himself through normal conversations and social interactions, so he fixates on the words of the books he loves and uses them to communicate with Catherine. Catherine understands David when he quotes the FROG AND TOAD stories, and David often appears to use them as a means to apologize to Catherine and reach out to her for help or forgiveness.

Jason’s disability is also explored authentically. Although Catherine does not know what is wrong with Jason, she explains that he is in a wheelchair and must use a communication book with word cards to communicate since he cannot speak. Although Jason’s disability plays a major role in the story, Catherine soon realizes that Jason is capable of holding normal conversations with her with the help of his communication book. She also realizes that Jason has many of the same likes and desires that she does, and to her surprise, they become fast friends.

Jason’s word cards serve as a significant cultural marker for the story in a variety of ways. As Catherine begins to help Jason create new word cards for his communication book, she is forced to examine the significance of the words she chooses and view communication in a whole new way. Catherine begins to understand how Jason could be frustrated by being limited to only the words in his book, and she makes it a point to create fun and eccentric words and phrases for him like “Awesome!” and “Stinks a big one!!!” Jason’s speech limitations parallel David’s struggles to communicate in some ways, and readers will recognize and sympathize with how Catherine helps both David and Jason overcome their struggles with communication to an extent.

RULES is a heartwarming story that readers of all ages will enjoy, and it is a great story to share with children to begin a discussion on individual differences. With exceptional characters, comical and endearing moments, and a wonderful message, RULES deserves a place on any library shelf.

REVIEW EXCERPTS:

From LIBRARY MEDIA CONNECTION (October 2006):
“The first-person narrative is very engaging, and readers will identify with Catherine's struggles and cheer for her at the end. This is a great book to help students gain some understanding about autism, while also providing a good read. The author is the mother of an autistic child.”

From SCHOOL LIBRARY JOURNAL (April 2006):
“Catherine is an endearing narrator who tells her story with both humor and heartbreak. Her love for her brother is as real as are her frustrations with him. Lord has candidly captured the delicate dynamics in a family that revolves around a child's disability. Set in coastal Maine, this sensitive story is about being different, feeling different, and finding acceptance. A lovely, warm read, and a great discussion starter.”

From KIRKUS REVIEW (March 2006):
“Catherine is an appealing and believable character, acutely self-conscious and torn between her love for her brother and her resentment of his special needs. Middle-grade readers will recognize her longing for acceptance and be intrigued by this exploration of dealing with differences.”

CONNECTIONS:

2007 Newbery Honor Book

Lamplighter Award

2007 Schneider Family Book Award

2007 ALA Notable/Best Book

Have students create their own personalized word cards (like the ones Catherine makes for Jason) that have special meaning to them. Then, ask them to make word cards to describe how they might feel if they had a family member or friend with a disability.

Culture 6: Inclusive Literature - Gay/Lesbian Characters

BIBLIOGRAPHIC DATA:

De Haan, Linda and Stern Nijland. 2000. KING & KING. Berkeley, CA: Tricycle Press. ISBN 1582460612

PLOT SUMMARY:

When the queen decides that it is time for the prince to marry and become king, the search is on for the perfect princess. The prince soon discovers that none of the many princesses who come to the castle to woo him are suitable to his tastes. However, when the last princess arrives with her brother, it is “love at first sight” between the two princes. The princes are married and then become known as “King and King.” True to the story’s fairytale style, “everyone lives happily ever after.”

CRITICAL ANALYSIS:

The interesting thing about this story is that it offers homosexual literature for even very young children, which can be difficult to find. Presented in a fairytale format, this story follows a prince as he searches for his true love. The plot is fairly predictable in the beginning as various princesses in all shapes, sizes, and backgrounds come to the castle in the hopes of charming the prince. Young readers will easily see the pattern of the prince’s less than enthusiastic response for each princess until the final princess arrives with her brother. Children will quickly put together the fact that the prince is in love with the other prince, not the princess. The plot is simple with an unexpected twist that serves the purpose of gently introducing young children to the concept of same sex couples.

Nearly all of the characters in the story are unique and eccentric in their own way. From the overbearing queen to the unimpressed prince, the characters are all very different from each other and offer readers a clear picture of individual differences. Even the princesses are all unique, opening up the door for a discussion on individuality with young children.

The bright and colorful illustrations will appeal to children and drive the message of the story home. The illustrations are full of activity with some comical aspects that children are sure to pick up on, such as the royal cat dressing up like the princesses in the background. The final illustration shows the two princes kissing with a heart drawn over their mouths to conceal the actual kiss, emphasizing the book’s usefulness and appeal for all ages.

This book offers young readers an introduction to same sex couples without offering graphic or overly confusing information. An upbeat plot, unusual characters, appealing illustrations, and a unique twist on an old tale combine to make this a celebration of love and differences for all ages.

REVIEW EXCERPTS:

From BOOKLIST (July 2002):
“The text is brief and lighthearted, and it presents the gay relationship with matter-of-fact ease. But it's the illustrations that really shine. Whimsical, textured collages mix beautiful papers, fabrics, and bright paint in scenes that show the bossy queen, the wildly imagined town, the eclectic princesses, the wedding, and finally, a kiss between the two starry-eyed princes. Adults will know what's coming early in the story, but many kids won't. They'll simply like the fun artwork and the final twist on conventions.”

From HORN BOOK starred (Fall 2002):
“In this mischievous twist on a familiar motif, a bachelor prince finds something lacking with each princess his mother draws to his attention until the last candidate brings along her cute brother. Silly but affectionate collage illustrations match the text for whimsical irreverence. Missing the political point, the young audience will probably come to the conclusion that this prince likes boys better than girls, which, of course, he does.”

From KIRKUS REVIEW starred (February 2002):
Move over, Princess Smartypants: this Dutch import arrives to take top honors in the fairytale-fracturing department. It is a joyful celebration that at the same time firmly challenges the assumptions established and perpetuated by the entire canon of children's picture books. Hurrah to newcomers de Haan and Nijland and to the publisher for bringing them to an American audience.”

CONNECTIONS:

Consider sharing the sequel to this story, KING & KING & FAMILY by Linda de Haan and Stern Nijland.

Use this story to open up a discussion on individual differences.

Read a traditional fairytale and compare/contrast with KING & KING.

Culture 6: Inclusive Literature - ASK ME NO QUESTIONS

BIBLIOGRAPHIC DATA:

Budhos, Marina Tamar. 2006. ASK ME NO QUESTIONS. New York: Atheneum Books for Young Readers. ISBN 9781416903512

PLOT SUMMARY:

Nadira and her family are illegal aliens from Bangladesh, and after 9/11, their world is turned upside down as the United States government enacts stricter rules against Muslim immigrants. Nadira’s family is afraid of being discovered, so the feel forced to flee to the Canadian border to seek asylum. When Canada turns them down, Nadira’s father is arrested at the border. Nadira’s mother stays behind to be with her husband and sends Nadira and her older sister, Aisha, back to New York. The teenage girls live in fear of having to leave America as well as what might happen to them if they are discovered. In the end, Nadira must switch roles with her strong, confident, “perfect” sister in order to prove that her father has been wrongly accused due to a case of mistaken identity. Nadira reunites her family again as their appeal for residency is finally granted.

CRITICAL ANALYSIS:

The characters in the story serve as cultural markers for immigrants from Bangladesh. The names of the characters, such as Nadira and Aisha, are authentic cultural names, and Aisha even makes a point throughout the story to remind others of the correct spelling and pronunciation of her name. The nicknames and forms of address used throughout the story also reveal some significant cultural markers. The terms “Abba,” “Ali-Uncle,” and “Ma” draw the reader into a piece of the culture of Bangladesh. The appearance of the characters is also significant to the authenticity of the story, and the contrast between Aisha’s and Nadira’s appearances establishes individual differences within the culture as well. While Aisha is described as “fair skinned and thin” with “frizzy hair,” Nadira is heavier and feels like an outsider in her own family at times. The clothing worn by the characters is equally significant. Aisha and Nadira embrace American clothing easily, while their mother maintains more traditional clothing styles for their culture such as a “shalwar kameez.” Eventually, their mother does transition to American clothes, signifying the family’s final transition to permanent life in America.

Food is also significant to the story, and Budhos again does a good job of contrasting two extremes as far as food is concerned. Traditional food items from Bangladesh, such as “moori,” “polao,” “luchis,” and spiced potatoes, are mentioned throughout the story. In contrast, American foods, such as sodas, Dunkin’ Donuts, and McDonald’s, are some of Nadira’s favorite foods. This contrast in foods reveals to the reader Nadira’s affinity for the American lifestyle. Interestingly, Nadira’s mother develops a habit of watching American cooking shows, revealing her slower transition to the American culture.

Language is another cultural marker for the story. While the girls speak English fluently, their mother is nervous about her limited English skills. Over time, their mother gains confidence in her ability to speak English as she begins to find her place within American society.

Budhos does an outstanding job of showing the reader how important American culture is to Nadira and her family. Although they are immigrants from Bangladesh and still embrace their culture and heritage, the idea of being Americans and living the American dream is extremely important to them. The characters of Nadira and Aisha make it clear to the reader that they are more comfortable living in America than they would be in Bangladesh, a place they hardly remember. Endearing characters, an exciting plot, and fascinating cultural dynamics combine to make ASK ME NO QUESTIONS an outstanding look at a family’s struggles to gain citizenship in the country of their dreams.

REVIEW EXCERPTS:

From BOOKLIST starred (December 2005):
“The teen voice is wonderfully immediate, revealing Nadira's mixed-up feelings as well as the diversity in her family and in the Muslim community. There's also a real drama that builds to a tense climax: Did Abba give funds to a political organization? Where has the money gone? Will Immigration hear his appeal? The answer is a surprise that grows organically from the family's story. Readers will feel the heartbreak, prejudice, kindness, and fear.”

From HORN BOOK starred (Fall 2006):
“Budhos's moving, quietly powerful novel explores the post-9/11 pressures on fourteen-year-old Nadira's Muslim family, Bangladeshi immigrants who have lived productively but illegally in New York for eight years. When they seek asylum in Canada and her father is detained at the border, Nadira realizes it is up to her to prove his innocence and hold her family together.”

From LIBRARY MEDIA CONNECTION (August/September 2006):
“Nadira's conflicted feelings, Aisha's meltdown, and the dynamics of the Muslim community as it faces the suspicions and bureaucracy of the immigration system are movingly conveyed through the narrator's voice. This book is a well-written and needed counterpoint in the body of September 11th literature. Many innocent, hard-working immigrants have experienced prejudice and fear, and this novel does an excellent job of telling their story. Highly Recommended.”

CONNECTIONS:

2008 ALA Notable/Best Book

YALSA Best Book for Young Adults

Have students create a diary and write from Nadira’s perspective throughout the major events in the story (being turned down at the Canadian border, her father’s arrest, her sister’s troubles, her father’s release, and finally achieving residency).

Culture 5: Asian Pacific American Literature – Yangsook Choi

BIBLIOGRAPHIC DATA:

Choi, Yangsook. 2001. THE NAME JAR. New York: Alfred A. Knopf. ISBN 0375906134

PLOT SUMMARY:

When Unhei moves from Korea to America with her family, she is both nervous and excited about being in a new country. Unhei quickly becomes worried and embarrassed about her Korean name, though, as some children on the school bus have a hard time pronouncing her name and tease her about it. Unhei decides that she wants to have her own American name, despite some adults in her life reminding her of the special meaning and uniqueness of her name. The children in Unhei’s class give her a glass jar with a variety of names in it in an attempt to help her choose an American name. One student in Unhei’s class, Joey, makes a special effort to befriend Unhei, and she ends up showing him what her name is using a special name stamp that was given to her by her grandmother before she left Korea. Joey quickly learns to pronounce Unhei’s name perfectly, and he secretly takes the name jar off her desk in the hopes that she will keep her own Korean name. Joey’s plan works, and Unhei introduces herself to the class and explains the meaning behind her Korean name. In the end, Joey reveals his reasons for taking the name jar, and he even shows Unhei the name stamp he had made with his own Korean nickname, which means “friend.”

CRITICAL ANALYSIS:

Unhei’s character is endearing and easily likeable, and her character also serves as an important cultural marker for the story. Unhei embodies the nervousness and excitement that a young child might feel as an immigrant to a new country. Like many immigrants, she is conflicted about wanting to fit in with the new country’s culture while still maintaining the culture she was born into. Young readers will sympathize with Unhei, and hopefully, this story will help all children see that being different can be a good thing.

Names are clearly a central theme to the story, and they serve as cultural markers as well. Unhei’s Korean name is unique, but it is a source of embarrassment to her at first as she adjusts to life in America. Although Unhei’s classmates give her a variety of American names to choose from, Unhei eventually embraces her own name as she learns to balance Korean culture with American culture. The story addresses the fact that many Korean names have meanings, and Unhei means “grace.” The custom of going to a “name master” to select a name is also mentioned, giving students insight into this tradition.

Unhei’s name stamp is also significant to the story, highlighting another cultural custom and introducing young readers to the unique nature of written Korean characters and language. Young readers will love looking at the beautiful imprints made by Unhei’s and Joey’s name stamps, and this name step ultimately helps Unhei become comfortable with her Korean name.

Though Choi does not specify any particular American city for the setting, Unhei’s new American neighborhood is still critical to the story as she adjusts to life away from Korea. In the beginning, Unhei sees “strange buildings and houses” in her neighborhood, but she quickly finds Kim’s Market where she is reminded of her old neighborhood in Korea. It is in Kim’s Market where Unhei’s mother finds Korean foods her family is used to eating, such as “kimchi” (Korean-style spicy pickled cabbage) and seaweed for soup. Kim’s Market is also where Unhei meets Mr. Kim, who welcomes Unhei to the neighborhood and reminds of her what a beautiful and meaningful name she has.

Choi’s warm and lively illustrations will catch young readers’ attention, and they add to the cultural authenticity of the story. This story makes an excellent read aloud, and the beautiful illustrations will certainly engage listeners as the story unfolds. Choi skillfully depicts accurate skin tones and hair colors throughout the story to enhance the book’s cultural accuracy. This story carefully balances important cultural details with the universal theme of children wanting to fit in, making it an excellent selection for story time.

REVIEW EXCERPTS:

From SCHOOL LIBRARY JOURNAL (2001):
“The round, red imprint of the Korean character for Unhei's name provides the graphic manifestation of the story's theme. Attractive golden endpapers feature random repetitions of the stamp imprint interspersed with her classmates' handwritten suggestions on scraps of torn paper. The bold, bright paintings that illustrate the story are realistic, warm, and appealing.”

From BOOKLIST (2001):
“Unhei has just come with her family from Korea and is starting school. Her name is pronounced Yoon-hye, which means grace, but she feels awkward about it after some teasing on the school bus. She decides to choose an American name, and her classmates oblige her by filling a glass jar with their suggestions. Her mother reminds her that she and her grandmother went to a name master for Unhei's name, and Unhei practices stamping her name with the beautiful name stamp her grandmother gave her. Finally, Unhei decides to keep her own name, and one of her classmates even has a stamp made for himself with the Korean characters for friend. The paintings are mostly in gold and earth tones, and the figures have both stature and simplicity--as does the story.”

CONNECTIONS:

On the back jacket flap of the book, it says, “Yangsook Choi chose the name Rachel when she left her native Korea to come to the United States in 1991 and will happily answer to either name.” Share this fact with students and ask them why they think the author chose the name Rachel when she came to America.

In this story, a young boy, Joey, makes a special effort to befriend Unhei and helps her become comfortable with her name by getting his own Korean name stamp. Discuss with students the importance of welcoming new students and helping people from other countries feel welcome. Brainstorm ways to befriend new students as well as ways to befriend children from other countries.

Yangsook Choi has an interesting website that can be shared with students: http://www.yangsookchoi.com/. Students may be particularly interested in reading about her other books in the “Books” section and viewing her spectacular drawings and paintings in the “Portfolio” section of the website.

Culture 5: Asian Pacific American Literature - Laurence Yep

BIBLIOGRAPHIC DATA:

Yep, Laurence. 2006. THE EARTH DRAGON AWAKES: THE SAN FRANCISCO EARTHQUAKE OF 1906. New York: HarperCollins. ISBN 9780060275242

PLOT SUMMARY:

This is the story of the devastating and tragic San Francisco earthquake of 1906 as seen from the eyes of two young boys, Henry and Chin. Chin and his father are Chinese immigrants, and Chin’s father works as a “houseboy” for the Travis family. Chin and the Travis’s son, Henry, are close in age and strike up a friendship. Although the boys are from different backgrounds, they have a lot in common and become great friends. All is well until the “Earth Dragon” awakes, unleashing a destructive earthquake that reveals some unlikely heroes. As the boys and their families fight to survive, the boys grow even closer and realize how courageous their fathers are and what is truly important in life.

CRITICAL ANALYSIS:

The story takes place in San Francisco and Chinatown in the year 1906. The setting is significant to the story’s plot because it provides the historical backdrop of the actual San Francisco earthquake of 1906. In addition, the setting provides some major cultural markers for the story as Yep describes and contrasts Chinatown with an actual Chinese village. Through Chin’s eyes, Yep notes that Chinatown is comprised of taller buildings and there are “no tiled roofs or carved windows” like in China. Chin says, “The American buildings look like they are wearing Chinese disguises.” These descriptions and comparisons are important because they touch upon the blending of Chinese and American cultures that many Chinese immigrants face.

The characters and their personal situations in THE EARTH DRAGON AWAKES also serve as significant cultural markers, and Chin and his father, Ah-Sing, add authenticity to the story. Chin’s father is a “houseboy” to a white family, and Chin helps his father out at work. Chin’s father came to America since he could make more money in America than in China, and he sends money back home to China for Chin’s mother and the rest of the family. This arrangement is difficult for Chin and Ah-Sing at times since they miss the rest of the family and China. Although Chin and Ah-Sing could live with the Travis family, they live in Chinatown instead because Ah-Sing “doesn’t want Chin to forget he’s Chinese.” Readers will sympathize with Chin and Ah-Sing, and Yep presents the situation of these characters in a way that will help readers understand the struggles faced by some immigrants.

Language is another cultural marker for the story. The author refers to the fact that although many immigrants in Chinatown come from China, they do not all speak the same dialect. Yep also makes a reference to Chinese words being characters based on pictures, giving young readers insight into the Chinese language.

Some Chinese beliefs and folklore are also touched upon briefly in this story. The title of the story, THE EARTH DRAGON AWAKES, emphasizes the significance of the many references in the story to the “Earth Dragon” that is believed to be angered and shakes the city through an earthquake as a result.

There are several interesting themes interwoven throughout the story that will captivate readers. For example, the idea of unlikely heroes plays a major role in the story. Chin and Henry read comic books and idolize only fictional heroes until they realize that their parents are heroes after the earthquake tragedy. The tragedy brings out the best in some, and it also unfortunately brings out the worst in others. Racism is also touched upon as the Chinese are not allowed to live in the camps next to the white people after the earthquake. Also, the Chinese had a difficult time returning to their homes after the earthquake since some people wanted them to rebuild Chinatown elsewhere.

Yep includes extensive descriptions of the actual earthquake and the resulting fires, and the destruction and devastation are explored through the eyes of the characters. A spectacular afterword includes factual information on the earthquake as well as actual photographs, suggested additional reading, and a list of websites. THE EARTH DRAGON AWAKES is an interesting look at an actual historical tragedy through two young boys’ eyes. The boys are from different worlds, yet they are friends and have a lot in common. This story includes the great messages of friendship, bravery, hope, and rebuilding, and younger elementary students who are ready for chapter books and adults alike will enjoy this story.

REVIEW EXCERPTS:

From BOOKLIST (March 2006):
“In the midst of catastrophe, the boys realize that their fathers are real-life heroes. Henry and Chin's stories are told in alternating chapters with a few interruptions for the insertion of earthquake information. Told in the present tense, the narration provides a "you are there"sense of immediacy and will appeal to readers who enjoy action-packed survival stories.”

From HORN BOOK (July/August 2006):
“Alternating the story of two fictional families with short segments of factual information, Yep creates a frightening sense of immediacy in this docudrama about San Francisco's destruction in the 1906 earthquake and ensuing firestorm…Yep uses the growing friendship between the two boys to underscore pointed discussions of race relations at the time, which works well for the most part.”

From LIBRARY MEDIA CONNECTION (January 2007):
“Each chapter is marked with the time, date, and location so readers can follow the boys' alternating perspectives. Some chapters present facts about such things as how the earthquake begins and how and where the fires start. These factual chapters flow seamlessly with the rest of the novel and provide much needed background information. The afterword includes Yep's personal connection to the subject, sources for further reading, and photographs. Young readers will find the story engaging and the disaster fascinating, and they will breathe a sigh of relief when the two friends are reunited.”

CONNECTIONS:

Texas Bluebonnet Award nominee 2007-2008

Definitely share the factual afterword with students since they will appreciate seeing the actual photographs showing how powerful the earthquake actually was. Also included in the afterword is a link to the city of San Francisco’s Museum: http://www.sfmuseum.org/. This website includes more detailed information about the earthquake and fire that students might be interested in exploring.

This story might lead to an interesting discussion of heroes and what makes a person a hero. The comparison between the fictional heroes of the comic books read by Chin and Henry and the heroic actions of their fathers following the earthquake can open up the discussion of what makes a hero a hero.

Culture 5: Asian Pacific American Literature - Allen Say

BIBLIOGRAPHIC DATA:

Say, Allen. 1999. TEA WITH MILK. New York: Houghton Mifflin Company. ISBN 0395904951

PLOT SUMMARY:

In this beautiful and touching story, Allen Say cleverly unfolds the story of his own mother. As the young child of Japanese immigrants, Masako (or May) felt comfortable living in America. When Masako graduated from high school, her parents grew homesick and decided to return to Japan. Devastated at leaving the only home she has ever known, Masako struggles greatly to find her place in Japan and grows very unhappy. Overwhelmed by her sadness and frustrations, Masako takes a bus to Osaka and ends up taking a job in a department store in the marvelous and bustling Japanese city. Masako is persistent and works hard, and she ends up being promoted from an elevator girl to the store’s guide for foreign businessmen. It is in this role that she meets a friend, Joseph, who teaches her that a home is not necessarily a place but a life that one builds. When Joseph’s job transfers him to Yokohama, Masako goes with him. They make a home together there, and the author says, “I was their first child.”

CRITICAL ANALYSIS:

This story centers around the character of Masako, and her character serves as a significant cultural marker for the story. Masako’s name reflects aspects of her cultural identity as her name shifts from Masako to Ma-chan (a nickname given to her by her parents) to May. In America, Masako prefers to be called May, signaling her American identity. In Japan, she is called her proper name, Masako, signaling her Japanese identity. In the end, she goes by Masako in Yokohama, except by her husband, who still reminds her of some of her American cultural characteristics by calling her May. Masako’s desire to live in America is also significant to the story, revealing the conflict she feels about her cultural identity as she is forced to return to Japan.

The story takes place in two different countries, America and Japan. The setting is significant because Masako’s change of locations and cultures has a profound impact on her. Eventually, Masako comes to realize that her location does not matter as much as the idea of building a “home” with people and things you love.

Food is another important cultural marker, and Say does an excellent job of contrasting the foods consistent with American culture with the foods consistent with Japanese culture. In fact, the title of the story, TEA WITH MILK, draws readers’ attention to Masako’s desire to drink “tea with milk and sugar” and be a part of American culture. In contrast to the pancakes, omelets, fried chicken, and spaghetti that Masako had grown accustomed to in America, her parents were still accustomed to traditional Japanese foods such as “rice and miso soup and plain green tea.”

Language also reflects Masako’s combination of cultural identities, and she must attend high school all over again once she gets to Japan to learn her own language. As a fluent English speaker, Masako is frustrated by this and is conflicted about having to learn Japanese when the other students in Japan are learning English. Her separation from others in Japan is so extensive that the other students call her “gaijin,” which means foreigner. Eventually, her fluency in English lands her a job as a store’s guide for foreign businessmen, though, and English is the language she uses to communicate with Joseph, her husband. Interestingly, at the end of the story, the author mentions that Masako always spoke Japanese to him when he was a child, revealing her ability to utilize both American and Japanese cultures and languages.

Clothing also presents readers with a cultural marker as Masako transitions from wearing American clothes, such as a bright dress she had bought in California, to traditional Japanese clothing, such as a kimono. Similarly, the Japanese custom of sitting on the floor for extended periods of time is mentioned, and Say states that Masako “never got used to sitting on the floor for very long.”

Say’s realistic illustrations add another dimension of authenticity to the story, following Masako as she struggles to find her place among the American and Japanese cultures. Say’s depictions are accurate, and he pays close to attention to details such as skin tone, hair, and clothing styles in order to add a realistic quality to the illustrations.

TEA WITH MILK offers readers a touching look at the struggles of one woman to find out where she belongs between two different cultures. Say does an outstanding job of infusing the story with rich cultural details in order to draw the reader into Masako’s plight as she struggles with balancing her American identity with her Japanese identity. Say uses the cultural elements of names, food, clothing, language, and setting to draw a contrast between Masako’s life as an American and her life in Japan. In the end, Masako strikes a balance between the two cultures and establishes a “home” with Joseph and her children in Yokohama. TEA WITH MILK is an outstanding multicultural selection that students of all ages will enjoy.

REVIEW EXCERPTS:

From HORN BOOK starred (Fall 1999):”Continuing to explore place and home, Say tells the story of his mother, first introduced to readers in Tree of Cranes. Born in California to Japanese immigrants, Masako is miserable when she moves to Japan with her parents after high school. The illustrations capture Masako's unhappiness and also her eventual contentment as she learns to combine two cultures.”

From KIRKUS REVIEW (1999):
“In describing how his parents met, Say continues to explore the ways that differing cultures can harmonize…Painted with characteristic control and restraint, Say's illustrations, largely portraits, begin with a sepia view of a sullen child in a kimono, gradually take on distinct, subdued color, and end with a formal shot of the smiling young couple in Western dress.”

From SCHOOL LIBRARY JOURNAL (December 1999):
”When her Japanese-born parents leave America for their homeland, an independent girl reluctantly follows and melds her experience and her heritage to find a new meaning for the word "home." This perfect marriage of artwork and text offers readers a window into a different place and time.”

CONNECTIONS:

If students enjoy TEA WITH MILK, introduce them to some of Say’s other books that explore family themes, cultural identity themes, and immigration themes, such as TREE OF CRANES and GRANDFATHER’S JOURNEY.

This story makes a great read aloud. Make some tea with milk and sugar for students to sip on while you read.

Ask students to discuss why they think Masako was so upset about having to return to Japan. Ask students how they would feel if they had grown up in America and then had to move to another country with their parents. Then ask students to consider how children born in other countries might feel when they move to America. Point out to students that balancing two cultures might be difficult for some people.

Culture 4: Native American Literature – Gayle Ross

BIBLIOGRAPHIC DATA:

Ross, Gayle. 1996. THE LEGEND OF THE WINDIGO: A TALE FROM NATIVE NORTH AMERICA. Paintings by Murv Jacob. New York: Dial Books for Young Readers. ISBN 0803718985

PLOT SUMMARY:

In an ancient village deep in the forests of the North Woodlands, fear spread as people began mysteriously disappearing. The people realized that a Windigo, a giant creature made of stones that hypnotizes people with his eyes and eats them, had moved into the woods around their village. The people did not want to leave the land they loved, so they began to seek the guidance of the “spirit protectors of their land.” The elders of the village used hot stones to create purifying steam as they prayed and sang, and a young boy discovered that one of the stones cracked and broke open from the heat of the fire. This gave him the idea to set a trap for the Windigo to destroy him with fire. The plan worked, but as the stone creature was burning and breaking, he exclaimed that he would haunt the land forever and continue eating the people for many more generations. The Windigo kept his promise by transforming into mosquitoes that eat the people of the land one tiny bite at a time.

CRITICAL ANALYSIS:

This story takes place “long ago, deep in the forests of the North Woodlands.” The eerie plot and fast action will easily grab young readers’ attention, and children will remember the frightening Windigo the next time they are sitting around a campfire or hiking through the woods. The clever plan to get rid of the Windigo will resonate with children, and the surprising conclusion that takes place after the Windigo has burned will certainly engage children and appeal to their imaginations.

Ross’s word choice attempts to set the mood of the story as a Native American tale. For example, Ross uses words and phrases such as “warrior,” “elders,” and “ceremony” to give the reader a clearer understanding of the context of the story. Ross also mentions using buffalo hides to cover the frame of the sweat lodge, lighting a sacred fire, and seeking “the help and guidance of the spirit protectors of their land.” While it is not clear which specific culture the tale is referring to, the clues Ross gives lead the reader to understand that this is a type of Native American tale.

While this story does not explicitly state which specific Native American culture it comes from, an author’s note at the end of the book does explain the author’s reasons for creating the story and offers some cultural insights into “Native American” stories in general. When discussing the roots of this story, Ross states, “Though it is based on several stories told by tribes in the north, from the Tlingit of Northwest Canada to the Cree of the Eastern Woodlands, this version is essentially my own creation.” Furthermore, she adds, “There is really no such thing as a ‘Native American’ story. The stories, like the people, belong to many tribes, many nations.” Ross also acknowledges some of the traditional stories that helped her create THE LEGEND OF THE WINDIGO. Also included in the author’s note is an explanation of why the sweat lodge ceremony in the story is vaguely described. Ross explains that because the ceremonies vary from tribe to tribe and “because many traditional peoples are very protective of their own rituals, the ceremony depicted here does not represent the specific spiritual tradition of any one tribe.”

Murv Jacob’s paintings are incredible and add to the richness of the story. The dark, earthy colors, bright contrasts, and tiny details combine to create gorgeous and fascinating artwork that tells the story of the Windigo in a spellbinding way. The skin tones and hair colors depicted in Jacob’s paintings seem as authentic as possible for the type of paintings he created for the story. The paintings show the men, women, and children of the village dressed in traditional clothing that one might associate with an ancient Native American tribe. Again, because the tale does not represent one specific culture, it is difficult to determine the cultural accuracy of details such as clothing and homes. The Windigo is portrayed as a strange creature with dark, flowing hair, black holes for eyes, a skull and bones necklace, and small colorful dots all over his body. Children will certainly enjoy seeing the paintings of the scary creature.

The engaging plot and scary undertones of THE LEGEND OF THE WINDIGO make it an appealing story that children will probably enjoy. The beautiful paintings also add to the story and will captivate children’s attention. While the story is at least based in part on some traditional Native American stories, the cultural authenticity of the story is difficult to pinpoint because of the generalities used throughout the story. The author does address reasons for the tale not depicting one specific culture in the author’s note at the back of the book, and it would be important to share this note with children to help them understand the generalities used throughout the story.

REVIEW EXCERPTS:

From HORN BOOK (March 1997):
“The author and illustrator of How Turtle's Back Was Cracked (Dial) and How Rabbit Tricked Otter (Harper) retell a pourquoi story about the origin of mosquitoes. The acrylic paintings match the text's description of the fearsome Windigo and also aptly capture the story's humorous conclusion. The lengthy author's note at the back provides a wealth of information.”

From KIRKUS REVIEW (1996):”Ross demonstrates her colorful storytelling in a suspenseful tale about the Windigo, a giant stone creature who is "taller than the tallest tree," can "change his shape at will," and "feeds on the people." When people begin to disappear, the Windigo is near. A young boy inspires the people to outwit the flesh-eating Windigo and reclaim their land; this gripping tale captures the imagination from the outset and quickly moves to a dramatic and surprising conclusion that is similar to that of The Windigo's Return (p. 1057) by Douglas Wood. Jacob conjures up appropriately spooky images rendered in deep-toned acrylics. Swirling skies and verdant forests dance around the people in a primitivist style, perfectly partnered with the pace and voice of the storyteller.”

CONNECTIONS:

Definitely read the author’s note at the end of the story with children and discuss Ross’s reasons for creating her own version of the tale as well as her reasons for not focusing on a specific culture. It might be important to help young children understand that there are many different Native American cultures and that they are not all the same.

Young children might enjoy drawing their own versions of the Windigo. Remind them that the Windigo is believed to be able to change his shape at will, and encourage them to be creative with how they depict the Windigo.

In her author’s note, Ross mentions AMERICAN INDIAN MYTHS AND LEGENDS edited by Richard Erdoes and Alfonso Ortiz and FAVORITE FOLKTALES FROM AROUND THE WORLD edited by Jane Yolen. Encourage students to check these books out and read more about the Windigo and the legend of how mosquitoes came to be.